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The Visuddhimagga (Pali; English The Path of Purification), is the 'great treatise' on Theravada Buddhist doctrine written by Buddhaghosa approximately in 430 CE in Sri Lanka. It is a comprehensive manual condensing and systematizing the theoretical and practical teachings of the Buddha as they were understood by the elders of the Mahavihara Monastery in Anuradhapura, Sri Lanka. It is described as "the hub of a complete and coherent method of exegesis of the Tipitaka, using the ‘Abhidhamma method' as it is called. And it sets out detailed practical instructions for developing purification of mind." (Bhikkhu Nyanamoli 2011 p. xxvii.) It is considered the most important Theravada text outside of the Tipitaka canon of scriptures.[1]
The Visuddhimagga′s structure is based on the Ratha-vinita Sutta ("Relay Chariots Discourse," MN 24), which describes the progression from the purity of discipline to the final destination of nibbana in seven steps.[2]
It is composed of three sections, which discuss: 1) Sīla (ethics or discipline); 2) Samādhi (meditative concentration); 3) Pañña (understanding or wisdom).
This comparison between practice and "seven relay chariots" points at the goal. Each purity is needed to attain the next. They are often referred to as the "Seven Stages of Purification" (satta-visuddhi):[3]
The "Purification by Knowledge and Vision" is the culmination of the practice, in four stages leading to liberation and Nirvana.
The emphasis in this system is on understanding the three marks of existence, dukkha, anatta, anicca. This emphasis is recognizable in the value that is given to vipassana over samatha, especially in the contemporary vipassana movement.
Kalupahana notes that the Visuddhimagga contains "some metaphysical speculations, such as those of the Sarvastivadins, the Sautrantikas, and even the Yogacarins".[4] Kalupahana comments:
Buddhaghosa was careful in introducing any new ideas into the Mahavihara tradition in a way that was too obvious. There seems to be no doubt that the Visuddhimagga and the commentaries are a testimony to the abilities of a great harmonizer who blended old and new ideas without arousing suspicion in the minds of those who were scrutinizing his work.[5]
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